CHAPTER 4

COMPARISON BETWEEN BHARATNATYAM AND MOHINIYATTAM

4.1 MUDRAS.

The meaning of mudra (gesture) in Sanskrit is ‘mudam anandang rati dadati’ meaning
‘that which gives ultimate joy’. Mudra has been an integral part of Indian heritage and
culture since the Vedic period. It has been a part of rituals, dance and drama in India.
Mudra, in itself, is a medium of practical knowledge. In every corner of the world,
those engaged in Indian dance, yoga or Indian studies are fascinated by mudras and
their use. Dancers are particularly inquisitive about mudras. In the Vedic period, while
performing yagnas (sacrificial rites), priests and religious masters created mudras for
ahuti (offerings), they also used mudras as an element of worship while reciting
mantras.

Mythological sources say that the Natya Veda (the book on Dramaturgy) was created
by Lord Brahma. According to these sources, Brahma gave the knowledge of the
Natya Veda to Bharata Muni (or Bharata). Then, Bharata Muni, along with his 100
sons, performed three types of dramatic actions i.e. verbal, grand, and energetic.
Brahma also asked Bharata Muni to incorporate grace into this performance, for
which it was necessary to include Nataraja’s style of dance. This graceful recital gave
birth to the sentiment of love. In order to incorporate erotic and romantic subjects,
women and apsaras (celestial dancers) were included in the performance. It must be
admitted that the mere enactment of heroic emotions and tales makes performances
flat and bland. Therefore, mudras were used to portray erotic emotions, according to
the traditional account of the Natyashastra.

According to another account, Shiva taught dance and performance to Nandikeshvara,

the great theorist of Indian music and dance and the author of Abhinaya Darpana.
Nataraja’s dance, known as tandava and sometimes considered a masculine form of
dance, also involved mudras. Nandikeshvara gave this knowledge to Brahma, who

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asked Bharata to write the Natyashastra. Thus, according to the Natyashastra, Brahma
is the source of natya (dance-theatre), Vishnu is the source of vritti (the constituent
elements of drama), and Nataraja is the source of nritya (dance). Traditional sources
say that Shiva requested Parvati to teach the soft and feminine form of dance to Usha,
the daughter of the sage Vana. This form, known as lasya, also uses mudra.

Gesture or mudra is considered the soul of Indian classical dance. According to the
Natyashastra, ‘the experts are to use the mudras according to the popular practice and
in this matter, they should have an eye on their movement, objects, sphere, quantity,
appropriateness and mode’. The palm of the hand is a centre of expression. Showing
the palm with various positions of the fingers is characteristic of classical dance. The
wrist is the pivot for movement of the hands in any direction. The language of mudra
is based on 24 mudras enumerated in the Natyashastra and 28 in the Abhinaya
Darpana. Single-handed gestures are called asamyukta, and those that use both hands
are called samyukta. Each mudra is described in these texts, with information on how
the fingers should be extended, separated, or bent to form the specific mudra. In this
context, it must be remembered that the synonym for mudra is hastavedah.

Theoreticians, scholars, critics and artists from Bharata Muni’s time to the present age
have described mudras as the language of dance. Indeed, commentators like
Nrityabaridhi Bela Arnab (1992), Anup Shankar Adhikari (1973), Nilratan
Bandyopadhyay (1972), Gayatri Chattopadhyay (1995) and Krishna Acharya (1990)
have chosen one simple statement i.e. ‘mudra’ is the language of dance. We can claim
that the Indian classical dances like Bharatanatyam, Kathakali, Kathak, Manipuri,
Odissi, Mohiniyattam, Sattriya and Kuchipudi are repositories of mudras that invoke
emotions and objects. An essential component of the Indian heritage of classical
dances, mudras have been depicted with fervour in all ages of our creative history,
telling and retelling stories through dance.

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4.2 MUDRAS OF BHARATNATYAM

In Bharatanatyam, the Classical Indian Dance performed by Lord Nataraja.

Approximately, 55 root mudras (hand/finger gestures) in Bharatanatyam are used to
communicate specific ideas, events, actions, or creatures in which 32 require only one
hand, and are classified as `Asamyukta Hasta’, along with 23 other primary mudras
which require both hands and are classified as ‘Samyukta Hasta. These Hasta Mudras
are used to portray stories of Indian where Gods & Goddesses, as well as various
characters, elements of nature, creatures, animals, emotions, and relationships within a
story.

4.3 MUDRAS OF MOHINIATTAM

The hand gestures used in Mohiniattam are mostly drawn from Hastalakshanadeepika,
an ancient text in Sanskrit that articulates 24 mudras. The definition and usage are
distinct from those mentioned in Bharata’s Natyashastra. Mohiniattam as an art form
uses the simple mudras coupled with abhinaya to depict or express an emotion or a
feeling, it is not as elaborate with mudras as one may see in the other art forms.

These fingers are used to portray the 24 hand gestures or the Hastas which has been
codified in the Hasta Lakshana Deepika which literally means the Lamp showing the
Purpose of Hand Gestures. It should been noted that the Asamyutha Hastas (Single
Hand Gestures) classified in the Natyashastra is slightly different from those in Hasta
Lakshana Deepika. Mohiniyattam follows the Abhinaya concepts written in Hasta
Lakshana Deepika and Abhinaya Darpana (Mirror of Gesture) authored by
Nandikeswara.

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 Comparison between the Hastas / Mudras
Sl.No Bharatnatyam Mohiniattam

1. Pathaka Pathaka

Method: Hold all your fingers Method: The Thumb should

straight signalling like a stop. be close to the hand. Bend the
The only difference is that your ring finger from middle. Rest
thumb should be bent a little bit of the fingers are straight up.
and all the fingers are to be held Uses:
tight. Pataaka Mudra is used to
depicting clouds, forests, denial
and during the start of the
Adavu.
Uses:

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2. Tripataka Tripataka

Method: Tripataka – Meaning Method: All the fingers are

“Three parts of the flag”. In this held close together with the tip
Mudra, all the fingers are held of the thumb slightly bend
straight and close together like
the stop sign except for the ring
finger which is bent.
Kartarimukha – It is done when
the little finger and the ring
finger is bent and pressed
against the thumb.
3. Kartharimukha Kartharimukha

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 Method: Mukha Mudras are
also used in Bharatnatyam to
symbolize certain things while
dancing. One such Mukha
mudra is the Kartarimukha
mudra, which means the
Arrow-Shaft face or the
Scissors Face. In dance, this
mudra is used to symbolise
many things like separation,
distress, death or disagreement.
4. Ardhachandra
Method: The little finger is
pointed up, the index finger,
middle finger and ring finger
is folded down like showing
number 3 and the thumb is
placed on the side of the index
finger
Ardhachandra

Method: In Ardhachandra all Method: The palm should be

the finger are held straight and facing up and then open all the
together, except the thumb fingers.
finger which is held apart. It is
just like the Pataka gesture , but
the thumb finger is held straight
and not bent like in Pataka.

5. Araala Araala

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 Method: It is done when the Method: The index finger is
Index finger is bent while doing held straight with the thumb
the Pataka Mudra. Here the and the middle finger touching
index finger is bent along with either sides of the index
the thumb, while the other finger. The little finger and
fingers are held straight. The ring finger is bent.
Aral Mudra is a simple yet
meaningful hand gesture,
achieved by a bend of the index
finger towards the thumb.
6. Shukathuda Shukathuda

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 Method: Shukatunda literally
means a Parrots Head.
Banaprayogaye: A shooting of
an arrow. kuntarthay: A spear.
aalayasya smriti kramay:
Remembering one’s Abode.
marmoktyam: Saying of Mystic
things. mrugabhaveshu: A
violent mood
7. Mushti
Method: The index finger is
held up folded like a hook.
Rest of the fingers are folded
into the palm with the thumb
kept on top of the fingers.
Mushti

Method: Mushti is nothing but Method: Fold all the fingers

clenching your hands. Resting like a fist with the thumb
your thumb in the clasps of the across the index finger
other fingers, the Mudra is
formed. You can also place the
thumb on the fingers. This
Mudra illustrates grasping,
steadfastness and a combative
position.

8. Shikhara Shikhara

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 Method: In this mudra all the Method: Hold the Kapitha
fingers are bent and pressed Mudra and bring the middle
against the Palm except the finger forward & index finger
thumb. The thumb is raised and back. Like showing scissors
held erect (like the thumbs-up
sign). It is used to denote an
armour, a bow, to say no,
questioning, sound of bells,
drinking.
9. Kapitham Kapitham

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 Method: This Mudra is called
Kapittha which means Goddess
Lakshmi and Saraswati. In
Bharatanatyam, Kataka Mukha
is the only Mudra that is done
in three ways.
10. Katakamukham
Method: Katakaamukha means Method: All the fingers are
“Opening in a Bracelet”. Its
done by bringing together the
index finger, middle finger and
thumb. The ring finger and the
little finger are raised at angles
as shown. Katakamukha is used
in almost all the Adavus except
Tattu Adavu.
11. Soochikamukha
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Method: Hold the index
finger and middle finger up
together. The ring finger &
middle finger is folded with
the thumb over the folded
fingers.
Katakamukham
folded here with the thumb
coming out in between the
middle finger and ring finger.
Soochikamukha
 Method: Suchi The Middle
finger, Ring finger and Little
finger is pressed against the
thumb, while the forefinger is
held straight. Suchi mudra is a
yogic hasta (“hand”) gesture
and one of a series of
therapeutic mudras believed to
have healing properties.
12. Sarpasiras
Method: This mudra is like the
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Method: Only the index
finger is pointed up like
showing the number 1 and rest
of the fingers are folded with
the thumb across the folded
fingers.
Sarpasiras
Method: All the fingers are
 snakes hood. When the Hand is held close together with its tip
held in Pataka Mudra and the slightly bend on top
fingers are bend from the tip to
form a hollowed palm we get
Sarpashirsha Mudra. Woman
hand showing Sarpashira hasta
(hand gesture, also called
mudra) (meaning “Snake
hood”)
13. Mrigashirsha Mrigashirsha

Method: Fingers are bent from Method: The index finger and
the knuckles except for the little little finger is pointed up. The
finger and the thumb which is ring finger and the middle
held straight. There are four finger are folded straight with
Mrigashira Nakshatra Pada’s its tips touching the tip of the
thumb.

14. Bhramara Bhramara

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 Method: The first index finger Method: The index finger is
rolls inward between the two folded and rest of the fingers
fingers- thumb and the middle are pointed up.
finger, and then the little finger
and ring finger should be
placed in outward positions.
15. Hamsasya Hamsasya

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 Method: Touch the thumb with Method: The tips of the index
the index finger and all the finger and middle finger are
other fingers are placed in an placed on the tip of the thumb.
outward position from the The other two fingers are held
inside. up.
16. Hamsapaksha Hamsapaksha

Method: All the fingers except Method: All the fingers are
the little and thumb should be held up
placed in frontward direction,
while little finger should be
placed perpendicular in the
respect of other fingers and
thumb should be placed as
closed beside the index finger.

17. Mukula Mukula

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 Method: Same as Padmakosha Method: All the fingers tips
but it should look thinner than touch each other
the Pamakosha.
18. Anjali Anjali

Method: It is a part of Indian

classical dance postures such as Method: Hold all the fingers
Bharatanatyam, yoga practice, together. The palm should be
and forms part of the greeting slightly cupped.
Namaste. Among the
performaning arts, Anjali
Mudra is a form of non-verbal,
visual communication to the
audience. It is one of 24
samyukta mudras of the Indian
classical arts.
Comparison between the Padabhedas / Feet Positions
Sl.No Bharatnatyam Mohiniattam

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1. Sama Pada Sama Pada

Natural feet naturally placed It is the natural feet position

on ground. It relates to where the feet are placed close
representing a natural posture. together facing the front like

Used- It should be kept still in when we walk . It represents a

natural pose . This feet position
representing the natural
is utilised in few Adavus of
position of the body in
Nritta or pure dance movements
connection with various
of Mohiniattam and many a
katanas, but in rechaka
times during the Abhinaya or
movement of feet should be
Nritya movements of dance
moved. numbers

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2. Anchita Pada Anchita Pada

The heels on the ground, the fore This is a foot position where the
part of the feet raised and all the heel touches the ground while
toes spread. the forepart of the foot and the
Uses- It is to be applied in toes are raised.
representing a movement with
wound at the fore part of the
foot,turning round in every way,
bhramari movements.
3. Kunchita Pada Kunchita Pada

The heels thrown up toes all Just the contrary to Anchita , the
bent down and middle of feet heels are raised up while the toes
too bent. touch the ground , bending the

Uses- It is to be used in middle of the foot in a

curvaceous manner .
aristocratic gait, turning, round
to right & voice versa and in
the Atikranta chari.
4. Udghattita Pada Udghattita Pada

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 Standing on the fore part of the Standing on the ground with the
feet and then touching the fore part of the foot and toes and
ground with the heels. tapping the ground with heels

Uses-In practice this is to only

follow the udghattita karana
and this should be applied once
or more in high or medium
speed.
5. Agratala Sanchara Pada Agratala Sanchara Pada

The heels thrown up, the big Here , both the heels are raised
toe put forward and other toe up while the toes touch the
bent. ground and moving with toes

Uses- This is to be used in only

urging, ponding, standing
posture, kicking, striking the
ground.

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